Composer and Saxophonist Biography

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Kevin Juillerat – Composer and saxophonist Biography: Born in 1987 in Switzerland, Kevin Juillerat studies saxophone with Pierre Stéphane Meugé in Haute Ecole de Musique Lausanne and Marcus Weiss in Hochschule für Musik Basel – he gets a Master’s degree in music pedagogy and a Master's degree specialized in contemporary music. Along with his instrumental studies, he attends composition lessons by Michael Jarrell and Luis Naon in Haute École de Musique de Genève and by Georg Friedrich Haas in Basel. He is also selected to attend the IRCAM Cursus 2015-2016 in Paris. As a saxophonist, Kevin Juillerat participates in several classical, contemporary and experimental music projects, playing with several ensembles such as Ensemble Intercontemporain, Orchestre de la Suisse Romande, Verbier Festival Orchestra or Verbier Festival Chamber Orchestra, under the baton of well known conductors, such as Valery Gergiev, Pierre Boulez, Neeme Järvi, Gianandrea Noseda or Matthias Pintscher. He worked with composers such as Heinz Holliger, Peter Ablinger, Jean-Claude Risset and Tom Johnson. He is also a founding member of the quartet Too hot to hoot? and the duet Duo Ekla with the french pianist Violaine Debever. As a composer, he has a wide range of commissions, and has composed, to name only a few, for l’Orchestre de Chambre de Genève (F), the ensembles Linéa and Proxima Centauri (F), Ensemble Batida, Eunoia Quintet (CH), the recorder player Antonio Politano, the trombonist Mike Svoboda and the conductor Arie van Beek. His Music in played throughout Europe, but also in Russia, Australia and South America, in festivals such as Rümlingen (CH), Mixtur (ES), Remusik (RU), Musik Biennale Zagreb (HR), Impuls Festival (AT) or International Saxophone Congress and Festival. His works are published by Éditions Alphonse Leduc Paris, BabelScores and Swiss Music Edition (EMS/ SME). He wins 3rd prize at 5-Minute Opera Competition in Zagreb in 2015 and becomes ﬁnalist in 2nd Mauricio Kagel composition competition Vienna in 2013. He has been the beneﬁciary of several grants and commissions, notably of UBS foundation, Irène Dénéréaz, Nicati-de Luze and Association Suisse d’Entraide Sociale et Culturelle. Kevin Juillerat teaches music theory in Switzerland and regularly gives saxophone, composition, improvisation and contemporary music interpretation classes. www.kevinjuillerat.ch .

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Melody on the Threshold in Spectral Music *
Melody on the Threshold in Spectral Music * James Donaldson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.2/mto.21.27.2.donaldson.php KEYWORDS: spectralism, melody, liminal, Bergson, Gérard Grisey, Claude Vivier, Georg Friedrich Haas, Kaija Saariaho ABSTRACT: This article explores the expressive and formal role of melody in spectral and “post- spectral” music. I propose that melody can function within a spectral aesthetic, expanding the project of relating unfamiliar musical parameters to “liquidate frozen categories” (Grisey 2008 [1982], 45). Accordingly, I show how melody can shift in and out of focus relative to other musical elements. I adopt Grisey’s use of the terms differential and liminal to describe relationships between two musical elements: differential refers to the process between distinct elements whereas liminal describes moments of ambiguity between two elements. I apply these principles to Grisey’s Prologue (1976), Vivier’s Zipangu (1977), Haas’s de terrae fine (2001), and Saariaho’s Sept Papillons (2000). Received February 2020 Volume 27, Number 2, June 2021 Copyright © 2021 Society for Music Theory [1.1] In the writings by figures associated with the spectral movement, which emerged in early 1970s Paris, references to melody are rare. As the group focused on the acoustic properties of sound, this is perhaps unsurprising. Nevertheless, the few appearances can be divided into two categories. First—and representative of broadly scientizing motivations in post-war post-tonal music—is the dismissal of melody as an anachronism. Gérard Grisey’s 1984 “La musique, le devenir des sons” is representative: with a rhetoric of founding a new style, he is dismissive of past practices, specifically that there is no “matériau de base” such as “melodic cells” (Grisey 2008 [1978], 27).
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